Charles DORNBERGER Orch. was an American band, who enjoyed greatest success in Canada. Dornberger played the sax ...
Charles DORNBERGER Orch. was an American band, who enjoyed greatest success in Canada. Dornberger played the sax primarily, and also the piano, clarinet & accordion. He never had any formal training. Dornberger got his start with the Paul Whiteman Ochestra. After WW1 Whiteman moved to San Francisco, where he organized a dance orchestra. Whiteman's band was soon playing at the city's most prestigious Fairmont Hotel. He formed another band when given the opportunity to play in the southern part of the state, in Santa Barbara's Belvedere Hotel. The eight musicians under his direction were: pianist Charles Caldwell, trombonist Buster Johnson, tuba player J.K. Wallace, trumpeter Henry Busse, drummer Harold McDonald, saxophonists Leslie Canfield and Charles Dornberger, and banjoist Mike Pingitore. Around 1921-22, Charles leaves Whiteman's orchestra to found a band of his own.
Recording: Charles Dornberger & His Orch., vocals: Dixon, Zbanek, Haren, - Campus Capers (Music by H.R. Bishop, Lyrics by John Howard Payne) , Victor 1929
ATTENTION! All lovers of The Charleston can find here in YT the film-instrucion how to dance it the perfect way: there's a clip from the Argyle Hotel in the heart of Hollywood: Minn & Corina - Jeremy & Alicia - two dancing master couples of the Charleston contests of 2006 etc., show us how to do it - exactly in that crazy manner as my Mom and Dad taught me, hundreds of years ago.
Go to http://pl.youtube.com/watch?v=26q9dj1twiY
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Added:1 year ago
Views:30,347
This five and a half minute magazine piece about a unique couple that love to portray the Edwardian and 1920 era's unlike ...
This five and a half minute magazine piece about a unique couple that love to portray the Edwardian and 1920 era's unlike anything you have ever seen! The Archer's like to call themselves "Period Authenticians", meaning: every item that you see from their clothing, to the "things you don't see," are either an authentic antique (100 years old + plus) piece, or a vintage (25-99 years old) period piece; not one thing is a reproduction. So, it doesn't get much better then this in trying to capture or recreate, "the way it truly was!" Ed and Karen really enjoy doing the research of era's that they portray and it clearly shows. The Archer's used to find and occasionally sell period clothing to a wonderful store that was called Vintage Silhouettes owned by Art and Jeanen Fawcett that was located in the small city of Rodeo, California. They used to supply costumes for such period films as Titanic and Seabiscuit; the store sadly closed four years ago when the Fawcett's decided to retire.
The Archer's are nationally known, and recently have been honored by the Ford Motor Company three years in a row; 2005-2008. The first year they were honored they drove their yellow #4 1915 Ford Speedster (one of the most complete original Ford race cars left of that era, seen in the opening and closing segments), all the way to Lincoln, Nebraska to receive their award; the race car has no seat-belts, wind-shield or headlights (will do 120 mph); let alone room to store luggage. They were in Life Magazine's year end annual for 1976 (mentioned in the video), and in the early 1980s they were on the television show 'Real People' that reporter Sarah Purcell came to interview them and rode along with the Lehto Mob. The Lehto Mob are comprised of the Archer's and their "like-minded" friends, they are a famous 1920s group that was formed in the early 1970s, and they used to perform songs on the radio and dance the "Charleston" at Turk Murphy's Earthquake McGoons in San Francisco (one of the last premiere authentic Jazz clubs in the world at the William Tell Hotel on Clay St. that moved to Pier 39; a move that deemed it's closing), and do public staged kidnappings and bank robberies; before the SLA ruined it all with really kidnapping Patrica Hearst, and those staged crowd pleasing pranks were no longer requested.
This particular video won a 2007 AEGIS Award and the best documentary at SFSU.
Director/Producer/Assistant Editor/Voice Over: Jeffrey Jenkins
Assistant Director/Assistant Editor: Rachel Galbraith
Camera/Editor: Justin Rosequites
Audio/Sound Sweetener: Fey Adelstein, Chris Carter, Derek Detangel, and Patrick Van Wye.
Unfortunately, a lot of the visual quality is lost in being compressed to 320x240 for this medium, but it was filmed in 1080i and can accommodate a full movie screen. The audio is fantastic so feel free to turn it up! All but two songs are performed by Ed Archer, along with "Over There," by Billy Murray (1917), and "Charleston" by Paul Whiteman Orchestra (1923), this piece carries great accurate songs from both the Edwardian and 1920's eras.
If you would like more information about the Archers or the video please contact Mr. Jeffrey Jenkins at jwjenkins@sbcglobal.net
I have four and a half hours of footage, but the project called for only five minutes. I hope to one day add to this video for we have a lot more detailed footage about the cars and the Lehto Mob. All the filming was captured in three days of eight to ten hour increments; except for the Gatsby Picnic, that was captured three months earlier. It was done with around twenty thousand dollars worth of equipment that was loaned to me (when I was a student), by the SFSU Broadcasting Dept; to which I received my degree. I'm good friends with the Archers, so I was extremely lucky and grateful to them for allowing us the opportunity to film them.
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Added:1 year ago
Views:5,058
Charleston montage with Paul Whiteman & orchestra ...
Added:5 months ago
Views:387
San Fox Trot (McPhail-Michels) Mound City Blue Blowers Brunswick 2602-A/112-CH CHicago,14.3.1924 Red McKenzie - comb Dick ...
San
Fox Trot
(McPhail-Michels)
Mound City Blue Blowers
Brunswick 2602-A/112-CH
CHicago,14.3.1924
Red McKenzie - comb
Dick Slevin - kazzo
Frank Trumbauer - C-melody sax
Jack Bland - bj
Here's how Red Mckenzie tells of the birth of The Mound City Blue Blowers. In 1923, Red "was back in his home town, St. Louis, the 'Mound City' from which the Blue Blowers got their name. "I was a bellhop in the Claridge Red said, ". . . and across the street was a place called Butler Brothers Soda Shop. Dick Slevin worked there and there was a little colored shoe-shine boy who used to beat it out on the shoes. Had a phonograph going. I passed with my comb, and played along. Slevin would have liked to play a comb but he had a ticklish mouth, so he used a kazoo. He got fired across the street and got a job in a big soda store. He ran into Jack Bland, who owned a banjo (now known for his guitar), and one night after work they went to his room. He and Slevin started playing. They got me. Gene Rodemich's was a famous band at that time. His musicians used to drop in at the restaurant where we hung out. They were impressed and told their boss. He took us to Chicago to record with his band, as a novelty. When we got to Chicago we went down to the Friars' Inn. About 1924 it was. Volly de Faut and Elmer Schoebel were there. Isham Jones was at the place and he asked us what instruments we were playing. He had us come to his office next day, and set the date for Brunswick. That was the time 2-23-'24 we made "Arkansas Blues" and "Blue Blues".(The second record was "San" and "Red Hot" with Trumbauer from the Ray Miller Orchestra.) They say it sold over a million copies. Brunswick put us in a cafe in Atlantic City called the Beaux Arts. I met Eddie Lang in Atlantic City. In New York, The Mound City Blue Blowers played the Palace in August, 1924." Subsequently, Red's band played at the Stork Club in London. Upon returning to America McKenzie joined the Paul Whiteman Orchestra, but kept the band going on the side, with personnel changes. In 1935 he revived the Mound City Blue Blowers for a series of recording sessions.
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Added:2 months ago
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Red Hot ! Fox Trot (Koehler - Trumbauer - Bradley) Mound City Blue Blowers Brunswick 2602-A/114-CH CHicago,14.3.1924 Red ...
Red Hot !
Fox Trot
(Koehler - Trumbauer - Bradley)
Mound City Blue Blowers
Brunswick 2602-A/114-CH
CHicago,14.3.1924
Red McKenzie - comb
Dick Slevin - kazzo
Frank Trumbauer - C-melody sax
Jack Bland - bj
Here's how Red Mckenzie tells of the birth of The Mound City Blue Blowers. In 1923, Red "was back in his home town, St. Louis, the 'Mound City' from which the Blue Blowers got their name. "I was a bellhop in the Claridge Red said, ". . . and across the street was a place called Butler Brothers Soda Shop. Dick Slevin worked there and there was a little colored shoe-shine boy who used to beat it out on the shoes. Had a phonograph going. I passed with my comb, and played along. Slevin would have liked to play a comb but he had a ticklish mouth, so he used a kazoo. He got fired across the street and got a job in a big soda store. He ran into Jack Bland, who owned a banjo (now known for his guitar), and one night after work they went to his room. He and Slevin started playing. They got me. Gene Rodemich's was a famous band at that time. His musicians used to drop in at the restaurant where we hung out. They were impressed and told their boss. He took us to Chicago to record with his band, as a novelty. When we got to Chicago we went down to the Friars' Inn. About 1924 it was. Volly de Faut and Elmer Schoebel were there. Isham Jones was at the place and he asked us what instruments we were playing. He had us come to his office next day, and set the date for Brunswick. That was the time 2-23-'24 we made "Arkansas Blues" and "Blue Blues".(The second record was "San" and "Red Hot" with Trumbauer from the Ray Miller Orchestra.) They say it sold over a million copies. Brunswick put us in a cafe in Atlantic City called the Beaux Arts. I met Eddie Lang in Atlantic City. In New York, The Mound City Blue Blowers played the Palace in August, 1924." Subsequently, Red's band played at the Stork Club in London. Upon returning to America McKenzie joined the Paul Whiteman Orchestra, but kept the band going on the side, with personnel changes. In 1935 he revived the Mound City Blue Blowers for a series of recording sessions.
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Added:2 months ago
Views:257
At request, I'm uploading this particular version of a well-known song, in a richly orchestrated version by Paul Whiteman ...
At request, I'm uploading this particular version of a well-known song, in a richly orchestrated version by Paul Whiteman. Record was made for Victor on January 4th, 1928. Vocal by Austin Young. (NB the picture is showing a European HMV issue).
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Added:1 year ago
Views:4,599
Victor (BW) 18899-A "Stumbling" Fox Trot (Zez Confrey) Paul Whiteman and His Orchestra. First issued circa early 1922 ...
Victor (BW) 18899-A "Stumbling" Fox Trot (Zez Confrey) Paul Whiteman and His Orchestra. First issued circa early 1922. Played on my VV-50, in the park.
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Added:1 year ago
Views:666
This is a very unusual version of this lovely song, as the tempo is much higher than normally. It is interesting too ...
This is a very unusual version of this lovely song, as the tempo is much higher than normally. It is interesting too since it is one of the early recordings of this tune from the 1933 Broadway musical 'Roberta', made long before Irene Dunne sang the best-known version in the 1939 homonym film. Indeed, this Victor issue was recorded in 1933, the year in which took place the musical premiere. Vocal by Bob Lawrence. My special thanks goes to the YouTube friend who provided me with this beautiful picture of Whiteman's Orchestra.
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Added:1 year ago
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Victor (BW) 18690-A "Whispering" Fox Trot (John Schonberger) Paul Whiteman and His Ambassador Orchestra. "For Dancing ...
Victor (BW) 18690-A "Whispering" Fox Trot (John Schonberger) Paul Whiteman and His Ambassador Orchestra. "For Dancing" ;) First issued circa late 1920. Played on my VV-50, in the park.
This was one of the first big hits of the 1920's. "Whispering" is sometimes touted as the first or one of the first million selling recordings. I have seen one book that claims sales of over two million in 1920 alone. NOT TRUE. Please read Allan Sutton's fine article on the Mainspring Press site:
http://www.mainspringpress.com/millions.html
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Added:1 year ago
Views:1,499
This is a Whiteman recording featuring great soloists Bix Beiderbecke (cornet) and Bing Crosby (vocal). Recording was ...
This is a Whiteman recording featuring great soloists Bix Beiderbecke (cornet) and Bing Crosby (vocal). Recording was made for Victor (NB the video copy of the record is a European HMV issue) on April 23rd, 1928.
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Added:1 year ago
Views:6,075
Adrian Rollini was a child prodigy on piano; at age four he played a recital at the Waldorf Astoria Hotel in New York. He ...
Adrian Rollini was a child prodigy on piano; at age four he played a recital at the Waldorf Astoria Hotel in New York. He led his own band at age 14 and began playing with the California Ramblers in the early 20's. While in that band Rollini developed his distinctive style of bass saxophone playing. 1927 was a landmark year for jazz and Rollini, as not only did he participate in numerous sides, but he also got the job heading up the talent roster for the opening of the Club New Yorker. It was a short-lived organization, a who's-who of 1920s jazz, including Bix Beiderbecke, Eddie Lang, Joe Venuti, Frank Signorelli and Frank Trumbauer. Sadly, salary demands began to rise, and the club had its own shortcomings, which proved a bad combination in the end, and the arrangement only lasted for some 3 weeks.it was not long until other talent would be seeking his name. From Europe, a young English bandleader by the name of Fred Elizalde was leading a band in London at the Savoy Ballroom, and he was looking for the best American jazzmen to spice up his already hot sound. He found Rollini, as well as Chelsey Quealey, Bobby Davis, Tommy Felline and Jack Russin. They all agreed to join him in 1927 and stayed until September of 1928. He continued to work, recording with such artists as Lee Morse, The Dorsey Brothers, Ben Selvin and Jack Teagarden. The 1930s saw a shift in musical idea- away from the "hot" sound and towards a more centered, polished sound, and Rollini adapted. In 1932 he formed Adrian Rollini and his Orchestra (primarily a studio group assembled for recording), and they began to record in 1933. His other groups would include the Adrian Rollini Quintette and The Adrian Rollini Trio. He went on to play in hotels, as well as arranging and writing songs behind the scenes, collaborating with such names as Vaughan Monroe but he never did any big recording once the big band era really got underway. He also did a brief tour in the late 40's. Rollini settled in Florida where he last worked at the Eden Roc Hotel in September 1955. He also operated the Driftwood Lodge at Tavernier Key. He died in 1956 at the age of 52. Chick Bullock was a prolific vocalist from the '30s, whose entire career seems somewhat shrouded in mystery and confusion. Even the details of his birth provoke wide geographical disagreement. Bullock is described as being particularly shy of publicity who vanished into the Los Angeles real estate business rather than remain in the spotlight. Such descriptions of Bullock's life tend to leave out the fact that he suffered from an eye disease. that disfigured his face; obviously, this was a serious handicap for a performer in a genre known for handsome frontline singers. This meant that Bullock was banished to the recording studios. He made the most of it, and was responsible for some 500 sides. His group Chick Bullock's Levee Loungers was strictly a studio all-stars affair. Bullock's list of associates are top flight indeed: he sang with Duke Ellington, but turned down Paul Whiteman. He also recorded with artists such as Luis Russell and Cab Calloway and featured a host of jazz heavyweights on his own records including trumpeters Bunny Berigan and Bill Coleman, trombonists Jack Teagarden and Tommy Dorsey, saxophonist Jimmy Dorsey, violinist Joe Venuti and guitarist Eddie Lang. This lovely record, offering a Victor Young composition, was made for Vocalion on february 26th, 1934.
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Added:2 months ago
Views:1,231
The English-born Donald Novis (1906-1966) was closely associated with the Cocoanut Grove of the Ambassador Hotel in Los ...
The English-born Donald Novis (1906-1966) was closely associated with the Cocoanut Grove of the Ambassador Hotel in Los Angeles. In the late 1920s and early '30s, the Grove was a spawning ground for some of the country's greatest talent. The ballroom/restaurant opened in the early 1920s with the nationally known orchestra of Art Hickman. A few years later, Gus Arnheim's Orchestra became a Hollywood favorite, and led to Arnheim's appearances in many films. One of his violinists, Russ Columbo, quickly became better known for his romantic crooning. Thanks to radio broadcasts, Columbo's fame led to engagements on the east coast and movie contracts. When Bing Crosby left Paul Whiteman's famous orchestra, he sang nightly at "the Grove" with Gus Arnheim's famous dance orchestra. Soon Crosby was more famous than the bandleader. The songs that wafted out into the evening air included Arnheim's own compositions, "I Cried for You," "Mandalay," "I'm Gonns Get You," "Was It Wrong" and the unforgettable "Sweet and Lovely."
Others singers nurtured by Arnheim included Harry Barris' wife Loyce Whiteman, Jack Smith, and Buddy Clarke. The San Francisco dance orchestra of Phil Harris also rose to national fame by playing for the Hollywood crowd at the Cocoanut Grove. Sometimes Harris alternated with the Xavier Cugat Orchestra.
Although Donald Novis sang all types of songs, his specialty seemed to be ballads, operetta, and the long-forgotten "art songs," such as "Trees" and "The Road to Mandalay." A tall, handsome chap with straight, blond hair, Novis was approached by film studios. His distinctive tenor voice is identifiable in numerous motion pictures of the early 1930s, notably "One Hour With You," "Monte Carlo," "This Is the Night," and "Trouble In Paradise" (all Paramount). In some films he is also seen, usually as a band singer or radio singer. He was given bigger parts in smaller films, such as the appearance in this clip from the 1934 short, "The Policy Girl."
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Added:1 year ago
Views:6,850
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What happen when Zefren Finds a Victor 78 RPM records that has hardly been played and in it's original Record Sleeve ...
What happen when Zefren Finds a Victor 78 RPM records that has hardly been played and in it's original Record Sleeve? Well He cleans it using the 3 parts vinegar one part conola oil solution and clean cloth, washes the record carefully in water and hand soap, then lets it stand for 24 hours. Then he records the record and places it on you tube. Yah! I had my doubts about the Victor Orthophonic years 26 to 29 but this record put them all to rest. This was the seventh Orthophonic record offered in 1926 and the frist Record with Paul Whiteman recorded electronicaly.
Paul Whiteman and his Orchestra
Valencia
BOYER-CHARLES-GREY-PADILLA
Recorded 03.30.1926
No more Worrin
Coonn- Donaldson- Mills
Recorded 03.26.1926
Victor Orthophonic 78 RPm Record
20007 A&B
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Added:1 month ago
Views:209
Blue STEELE - Living Legend in the music world, called sometimes "the Dean of Dixieland" - started his career as a band ...
Blue STEELE - Living Legend in the music world, called sometimes "the Dean of Dixieland" - started his career as a band leader in 1919, that was shortly before radio which came in 192o, but he got a real break in 1927 when one of his boys (Sunny Clapp) came up with a song. The result was "Girl of My Dreams", recorded by Victor with Kenny Sargent's vocal (- it can be found in You Tube at ksmp01 site !). This tune has been played and sung wherever the English language is spoken and is considered even today, the classic of all love songs. Blue Steele and his Victor Recording Orchestra went on to be the darlings of the era, which favored mostly sweet „white tuxedo" dance bands (Paul Whiteman, Lombardo, Wayne King etc). Blue Steele's band could play in this immaculate „high style", but his large orchestra (which included seventeen pieces by this time) could also start the „joint jumpin'" tune to the delight of the more sophisticated customers, but the annoyance of managers. Casa Loma Orchestra, using the musical style originated by Blue Steele - with an assist from arranger Gene Gifford -- has gained for many decades the international fame.
Steele has also toured Europe, the Philippine Islands, Hawaii and Mexico City -- where he spent many years at the El Patio Club. He also had a fifty-two piece symphony orchestra which he directed twice a week over Radio in Mexico City.
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Recording:
Blue Steele & His orch., voc. Blue Steele - Sugar Babe, I'm Leavin' (Sol Lewis / Sunny Clapp), Victor 1927
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Added:6 months ago
Views:960
http://www.artistopia.com/hessionsession "Changes" is a hot Walter Donaldson hit from 1927. As with most of Donaldson's ...
http://www.artistopia.com/hessionsession
"Changes" is a hot Walter Donaldson hit from 1927. As with most of Donaldson's tunes,Paul Whiteman and his orchestra were waiting for the next hit off the presses. Whiteman's arrangement of this song was memorable because of the chorus sung by the Rhythm Boys (Bing Crosby, Harry Barris,and Al Rinker. All of the Rhythm Boys were successful songwriters in their own right. In our video of "Sam, The Old Accordian Man" we detail Jim and Martha's relationship with the Walter Donalson family. A cut of one of Jim's interpretations of "Changes" can be found on the five CD collection of a tribute to Walter Donaldson.This was filmed at "Word of Mouth Studio" in Algiers(New Orleans) on March 10,2008.
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Added:8 months ago
Views:324
From Wikipedia: GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important ...
From Wikipedia:
GOLD DIGGERS OF BROADWAY 1929 is a lost Warner Bros. comedy/musical film which is historically important as the second talkie, photographed entirely in Technicolor. It became a box office sensation, making Winnie Lightner a worldwide star and boosting guitarist crooner Nick Lucas to further fame as he sang two songs that became 20th century standards; 'Tiptoe Through the Tulips' and 'Painting the Clouds with Sunshine' (Al Dubin / Joe Burke).
It earned a domestic gross of $3.5 Million, extending to over $5 Million worldwide (adjusted for inflation in 2007 this would be a gross of around $60 Million). The original production cost was approximately $500,000. This film was so popular that it quickly became the top grossing film of all time in 1929 and held this record until 1939. It was chosen as one of the ten best films of 1929 by Film Daily. As with many early Technicolor films, no complete print survives, although the last twenty minutes do, but are missing a bridging sequence and the last minute of the film. Contemporary reviews, the soundtrack and the surviving footage suggest that the film was a fast-moving comedy which was enhanced by Technicolor and a set of lively and popular songs. It encapsulates the spirit of the flapper era, giving us a glimpse of a world about to be changed by the Great Depression.
Because the film is lost, the partial remake, Gold Diggers of 1933, is the most frequently seen version of the story. The film has become so completely forgotten that it is seldom featured in any 'most wanted' lost film lists and is missing from many modern reviews of the early talkie.
The song "Painnting The Clouds With Sunshine" was extremely popular also in Poland. The Polish lyrics "Czy ty naprawdę masz tak przecudowną twarz..." did not quite exactly match the English text's idea (the English translation of it would be more less, like : Do you really have/ such beautiful face/ or it only seemed so to me?). It was recorded by Chór Dana for Polish "Odeon" and their interpretation was one of the few cases when the original Polish recording was bought for the commercial German label pressing.
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JOHN JEAN GOLDKETTE (1893--1962) was a jazz pianist and bandleader born in Patras, Greece. Goldkette spent his childhood in Greece and Russia, and emigrated to the United States in 1911. He led many jazz and dance bands, of which the best known was his Victor Recording Orchestra of 1924 -- 1929, which included, at various times, Bix Beiderbecke, Hoagy Carmichael,Chauncey Morehouse, Jimmy Dorsey, Tommy Dorsey, Bill Rank, Eddie Lang, Frankie Trumbauer, Pee Wee Russell, Steve Brown, Doc Ryker and Joe Venuti, among others. Vocalists included the Keller Sisters and Lynch. In his Jazz Masters of the Thirties, Rex Stewart, a member of Fletcher Henderson's band at the time, writes that the Goldkette band's innovative arrangements and strong rhythm made it the best dance band of its day and "the first original white swing band in jazz history." Jean was also the Music Director for the Detroit Athletic Club for over 20 years, and was also co-owner of the legendary Graystone Ballroom with Charles Horvath, who also performed with the Goldkette Victor Band in its early years. Jean owned his own entertainment company called "Jean Goldkette's Orchestras and Attractions," and worked out of the still-standing Book-Cadillac Hotel in Detroit.
In 1927, Paul Whiteman, the controversially self-proclaimed "King of Jazz," hired away most of Goldkette's better players due to Goldkette not being able to meet the payroll for his top-notch musicians. Goldkette later helped organize McKinney's Cotton Pickers and Glen Gray's Orange Blossoms, which became famous as the Casa Loma Orchestra. In the 1930s he left jazz to work as a booking agent and classical pianist. In 1939, he organized the American Symphony Orchestra which debuted at Carnegie Hall, and also married for the first time, to a lady named Lee McQuillen from New York City. He moved to California in 1961, and the following year died in Santa Barbara, California, of a heart attack.
Recording: Jean Goldkette & His Orch., v. Frank Munn - Painting The Clouds With Sunshine (Al Dubin/ Joe Burke), Victor 1929
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Added:11 months ago
Views:9,881
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This is another gorgeous example of Whiteman's talent as an extremely skilful orchestrator. This record (which I'm ...
This is another gorgeous example of Whiteman's talent as an extremely skilful orchestrator. This record (which I'm presenting thanks to a YouTube friend) was made for Victor in 1927. Vocals are sung by the King's Men.
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Added:1 year ago
Views:3,816
Since some interest has been shown in this totally forgotten Edison band, I upload a vibrant version of "Too Tired", very ...
Since some interest has been shown in this totally forgotten Edison band, I upload a vibrant version of "Too Tired", very interesting as material for a comparison with Lee Morse's moving, intimate version, wnich stylistically is the complete opposite (see elsewhere on my channel). The orchestra presented here was led by William Conrad Polla (August 12, 1876, New York (Manhattan), NY, USA d. Nov. 4, 1939, New York (Manhattan), NY, USA). One of the least known of the novelty pianists, W.C.Polla was also a leader, arranger, and composer. In the early 1920s, he led his own orchestra, well recorded on Edison Diamond Discs, but disbanded in 1925, just two years before his 1927 hit song "Dancing Tambourine" was recorded by Paul Whiteman, The Radiolites and others. Aside from this one popular work, he is completely forgotten today., Still, he did enjoy a varied career, mostly as a conductor and arranger for New York musical productions. Polla also owned his own publishing house, the W.C. Polla Company, for a few years. ( W. C. Polla & Co., Inc, 1545 Broadway, R305, New York, New York, NY, USA - He may also have had an office in Chicago, IL, - W.C. Polla Company, Publishers, Grand Opera House Block, Chicago, U.S.A.). He arranged a number of W.C. Handy tunes for band and orchestra. Polla was a prolific composer, writing over 60 songs in total, including a large number of popular songs, several ragtime works as well as some orchestral works. Most of his rags were written under the pseudonym "W.C. Powell". Among the songs that W. C. Polla composed using the pseudonym of W. C. Powell, are: "Dope Rag" (as W. C. Powell 1909) ; "Johnny Jump Up" (as W.C. Powell 1910); Funny Folks" (as W. C. Powell); Jolly Jingles" (as W. C. Powell); "Missouri Rag" (as W.C. Powell 1907); "The Gondolier" m: W C Powell and w: Harry Williams (1903); "The Irresistible Rag" (as W. C. Powell). A few of the songs that W. C. Polla composed under his own name are: "Baby (Everybody Calls Her Baby", ( W.C. Polla, Chas. Tobias & Harry Tobias) 1921. (A hit for Eddie Cantor); "Buddy", m: W. C. Polla w: Jean Lefavre (1919); "Dancing Tambourine", (w: Phil Ponce - m: W. C. Polla) (Aug 4, 1927) Perhaps his most famous work, The song has been played/recorded by such artists as the Lawrence Welk Orchestra (with Myron Floren on accordion), Paul Whiteman & His Orchestra recorded the tune (Victor40230=3 (NYC) 9/22/1927), and the 'Robin Hood Dell Orchestra', -conducted by Morton Gould (who also did the arrangement).; "Dear Heart", m: W. C Polla and William Goldsmith, w: Jean Lefavre (1919); "Down South", m: W C Powell and w:Wm. Myddleton (later recorded by B. A. Rolfe & His Palais D'or Orchestra; "Drifting", m: W.C. Polla, w: Arthur J. Lamb (1920); "Girl Of My Dreams", m: W.C. Polla, w: Harry & Chas. Tobias (1920); "I'm Telling The World (That I Love You)", m: W. C. Polla w: Amy Ashmore Clark. (later recorded by Al Lynn's Music Masters); "Just Like A Baby", m: W. C. Polla w: Arthur Short, Harry Tobias; "Mama's Gone Goodbye" (1924);"My Castles In The Air Are Tumbling Over", m: W. C. Polla, (1919); "My Sunshine Rose", m: W. C. Polla w: Jean Lefavre (1920); "Night In June" (1927) ; "Some Day", m: W. C. Polla, w: Larry Spier (later recorded by Duke Yellman and his Orchestra); "The Melody That Made You Mine", ( m: W. C. Polla, w: Cliff Friend) The tune was recorded by the Bar Harbor Society Orchestra, Victor: 5848-1, 2/12/25; "To-Night You Belong To Me", ( m: W. C. Polla, w: Billy Rose & Lee David); "You Know", (w: Phil Ponce - m: W. C. Polla) (1919); "Weep No More My Mammy" (W.C. Polla ) (1921). The present - most remarkable - recording was made fpr Edison in November 1924.
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Added:4 months ago
Views:851
Victor (BW) 19353-A "Paradise Alley" Fox Trot (Johnson-Archer-Carlton; from the Musical Comedy "Paradise Alley") Paul ...
Victor (BW) 19353-A "Paradise Alley" Fox Trot (Johnson-Archer-Carlton; from the Musical Comedy "Paradise Alley") Paul Whiteman and His Orchestra, with vocal refrain. First issued circa late 1924. Played on my VV-VIa.
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Added:1 year ago
Views:387
I came across a rather unusual recording of this well-known tune. Recently, several sublime videos by this orchestra have ...
I came across a rather unusual recording of this well-known tune. Recently, several sublime videos by this orchestra have been uploaded, and I thought this one would illustrate another aspect of this top class ensemble. The present recording, featuring vocals by Hoagy Carmichael (the composer of the song), was made for Victor on November 18th, 1927.
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Added:1 year ago
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Original composition by Russian 5 member Cesar Cui, orchestrated by American composer Ferde Grofe for 1923 recording by ...
Original composition by Russian 5 member Cesar Cui, orchestrated by American composer Ferde Grofe for 1923 recording by Paul Whiteman (King of Jazz) and his Orchestra
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Added:4 months ago
Views:101
Added:1 year ago
Views:432
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